ARTISTS IN THIS ARTICLE

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ack in 1947, when he was 16, he practiced with other boys three or four times a week. Then he frequented the Club Patagones, on 200 Quilmes Street, but soon later he dared to step on the huge track of the Club Estados Unidos or of the Franja de Oro.

«Nearly always some dancers arrived and taught us steps and corrected our mistakes. From my neighborhood, Pompeya, I especially remember Tin who danced to Aníbal Troilo’s music with his partner Sarita ».

Later he became habitué to the Club ANBA and thereafter to the Club Oeste, where he would really learn this art. With the passing of time he stood out in tango and even more in milonga. He teamed up with Nelly (Nélida Fernando) and began a career with classes, exhibitions and international tours. Soon he achieved recognition and his name turned out a synonym of elegance and cadence.

Part of his activity was collected by the Solo Tango TV channel in the instructive series “Tango de Pura Cepa” and in several videos published on YouTube.

On one occasion Roberto Pocho Carreras said: «Elegance in tango is the sum of several factors: foot placement, body position, the position of arms and hands and, above all, cadence». And he shared his knowledge as a good purebred milonguero would do.

The author is instructor, dancer and researcher of tango dance. He is author of the Nuevo glosario de tango danza, La pista del abrazo and Tango FAQs. www.tangosalon.com.ar / info@tangosalon.com.ar